North London’s Sorry have shared their new track and video ‘Jealous Guy’ on Domino, watch above.

‘Jealous Guy’ is Sorry’s first new music of 2019, following their acclaimed 7” ‘Showgirl’/’Twinkle’, which received glowing praise from Pitchfork and Dazed, and saw the band perform live for Marc Riley on BBC Radio 6 Music - and ‘Starstruck, a track that caught the eye of BBC Radio 1, seeing multiple plays across the station this year and last.

A sideways look at the John Lennon and The Plastic Ono Band song of the same name, ‘Jealous Guy’s buoyant tone finds a perfect juxtaposition cut with principal songwriters and vocalists Asha Lorenz and Louis O’Bryen’s sly and witty lyrics: “I'm just a jealous guy, watch out.” The riotous video for ‘Jealous Guy’ was directed by the band’s Asha, frequent Sorry visuals collaborator Flo Webb - the pair operate under the Flasha moniker - and Jasper Cable-Alexander. Asha explains, “We played on the saxophone idea - I guess like a Madness or The Specials video, or like The Blues Brothers, sharply dressed and funny, with interesting shots of us about town. The theme of jealousy runs through the video and the last shot is me [Asha] killing Louis due to her jealousy, after the realisation that Louis is too good at writing songs.”

Centred around Asha and O'Bryen, two 20 and 21-year-old childhood best friends, Sorry were signed by Domino after developing a reputation as the most thrilling new band on London’s underground circuit. Sorry’s lineup is completed by Lincoln Barrett on drums and bassist Campbell Baum.

Following the recent announcement of their third album, Serfs Up!, Fat White Family have shared the video to Tastes Good With The Money, an absurd Monty Python inspired ‘romp’ directed by Roisin Murphy. Watch above.

Talking about the video, Roisin said:

The idea of referencing Monty Python partly came out of the somewhat absurd and confusing political landscape that we are now living in Britain, Python seems prescient. The British laughing at themselves, a certain kind glee even in the loss of empire, singing as the ship goes down, well it just seems so...of the moment. There is this deep ambivalence to the establishment that resonates with the Fat Whites own irreverent world view.

Most of all I wanted an idea that would give them the confidence and the space to really let go and just perform, too allow them to be raw in what is essentially an unnatural situation for a bunch of ne’er do well musicians.

When I look at the video, what I see is the trust they put in me and I’m so proud of that. Maybe it’s because I am a performer too but they let themselves be put in a kind-of vulnerable situation; they allowed themselves to be foolish, silly and absurd in a way that could have gone tits-up, however, the result is hilarious and the performances are second to none.

Additionally, the band are set to play a number of in-store shows the week of release of Serfs Up! The London & Kingston in-stores give fans a chance to see the band perform their unmissable full live show in tiny spaces, while the remaining shows see the band perform stripped back re-imaginings of the songs in a baroque style.

The secret electronic album that Stephen Malkmus has been telling everyone about will see the light of day on March 15th, when it’s released on Domino. The first taste of Stephen’s new groove comes with the release of single ‘Viktor Borgia’, and its accompanying video starring Stephen alone in a dance club. Watch above.

The title playfully merges the name of the comedian-pianist and the ruthless dynasty of Italo-Spanish nobles. With its stately melody and the almost-English-accented vocal, the coordinates here are early Human League or even Men Without Hats. “I was thinking things like Pete Shelley’s ‘Homosapien’, the Human League, and DIY synth music circa 1982,” says Stephen, adding “and also about how in the New Wave Eighties, these suburban 18-and-over dance clubs were where all the freaks would meet – a sanctuary.”

Groove Denied will shake up settled notions of what Malkmus is about and what he’s capable of, repositioning him in the scheme of things. But looking at it from a different angle, his engagement with state-of-art digital tech actually makes perfect sense. After all, Nineties lo-fi – the sound in which he and Pavement were initially vaunted as leaders and pioneers - was nothing if not insistently sonic – it was all about the grain of guitar textures, about gratuitously over-done treatments and ear-grabbing effects. Noise for noise’s sake. As Stephen tweeted recently on the subject of Auto-Tune’s omnipresence in contemporary music-making: “We long 4 transformation....and we humans fucking luv tools.”

Following the release of Across The Meridian – their first album in 11 years – Pram have shared a new video for ‘Doll’s Eyes’, directed by Scott Johnston. Watch the video above.

"Pram's music often conjures a world for me that lies disconcertingly between adult nostalgia, childhood terrors,” says Johnston of the new video. “For this track I took those feelings literally! The concept became, what if I were making this video when I was a 12-year old home movie monster kid, using Super8mm, crude props and friends/family pets, all mashed up with a teen's heightened view of love and obsession?"

Released in 2018, Across The Meridian is a celebration of Pram’s unique vision, focused into a beautifully constructed and tautly produced soundworld. As with their previous albums, Across the Meridian mixes instrumentals and songs, weaving a gleeful path through the musical territory of film scores, 30s jazz, sun-drenched pop, electronica, and post-punk experimentation. Haunting and wistful vocals are set to a variety of soundscapes, sometimes appearing as a snatched fragment of the subconscious and dreamlike, at others crafting a story of longing or regret, drawing the listener into Pram’s uncanny world through the mirror. Newcomers to Pram will find a richly detailed collage of influences ranging from exotica, Krautrock and the forgotten film soundtracks that went on to inspire contemporaries Stereolab & Broadcast.

Aldous Harding announces her latest album 'Designer' Out 26th April 2019 via 4ad. Watch the video for 'The Barrel' above.

Designer finds the Aldous Harding hitting her creative stride. After Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road. Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen.

From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an enigmatic artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

After a seven year break, Clinic, Liverpool’s cherished post-punk pop experimentalists return with album number eight, released on May 10th by Domino Records. The first track to be shared from Wheeltappers and Shunters is ‘Rubber Bullets’, watch the Joseph May directed music video above.

Wheeltappers and Shunters is neither a celebration nor a denigration of the culture of the era in which Blackburn and his collaborator-in-chief, Hartley, grew up. “It’s a satirical take on British culture - high and low,” explains Blackburn. “It fascinates me that people look back on the 1970s as the glory days. It’s emerged that there was a darker, more perverse side to that time. When you look back on it now it was quite clearly there in mainstream culture.”

The album was recorded last year in founding band member Hartley's Liverpool studio, before they brought in Dilip Harris (King Krule, Sons Of Kemet, Mount Kimbie) to mix it. “We thought it felt right to make a fun, dancefloor album in these dark and conservative times,” Blackburn continues. Fun, sure, but this is Clinic – their brand of fun oozes with menace.

The Great Britain that Clinic are evoking is not that ancient, bucolic past of village green cricket, half a mild and hanky-waving Morris Dancers that many seem so determined that the country should return to, but a rather more sleazy past. Clinic’s reverie is for a time when Blackpool was the pleasure capital of the kingdom and the public was kept entertained by travelling circuses and the dirty glamour of the funfair; tacky end of the pier merriment and enforced fun at Butlins; when bell-ringing town criers bellowed their nonsensical broadsides into the ether.

Fontaines. D.C. have confirmed details for their anticipated debut LP. 'Dogrel' – the word referring to a crude, traditionally Irish working-class form of verse historically looked down upon by literary critics (establishment upper classes) – will come out April 12th via Partisan Records. Opening track “Big” offers an intense, driving, self-confident statement of intent, and is accompanied by a music video (directed by Molly Keane) shot on the streets of Dublin. Listen/watch above.

Speaking about the video, the band says: “We felt that great ambition was a sickness, and we got Grian's 11 year next-door neighbor to say it to you all because he's got the presence of a hundred frontmen.”

Their debut NÉRIJA EP – originally composed, recorded and self-released following their meetings and collaborations via London’s Tomorrow’s Warriors – is now re-released digitally in full, having been re-mixed by kwes and remastered by Chris Potter at Electric.

After leaving the bitter Lake District winter behind, where the decision had just been made for Wild Beasts to go their separate ways after over a decade together, “Diviner” was written under the perpetual blue skies of California.

“Diviner became the first song and the divining rod for what was going to be next” Thorpe says, “There are, if we can wait for them, rare days of alignment. Diviner was written on such a day, my birthday of all days. The curtains were drawn for a while, I went inside. To say I’m delighted to see daylight would be an understatement.”

“Diviner” is a tender, euphonious track with burnished keys and serpentine voice, heralding a bright future for Thorpe.

Avey Tare, a.k.a Dave Portner of Animal Collective, has announced the new album Cows On Hourglass Pond, for release on March 22, 2019. The first song to be released from the forthcoming album is “Saturdays (Again)”. A video, directed by Abby Portner, can be watched above.

Cows On Hourglass Pond was recorded between January - March 2018 by Dave Portner at Laughing Gas in Asheville, NC on a Tascam 48 half-inch reel-to-reel tape machine. The album was mixed by Adam McDaniel and Dave Portner at drop of sun in Asheville, NC.

"For the Saturdays (Again) video I wanted to try and create what it would look like inside Avey Tare's new record cover, if you were to step inside and hang out with Dave and the cows in a surreal, colorful landscape. Since I did parts of the record art and paintings in the press photos, I wanted it to all be included inside this video." Cows On Hourglass Pond follows the 2017 release of Avey Tare’s Eucalyptus, and 2018’s audiovisual album Tangerine Reef, a collaboration between Animal Collective and avant-garde coral macro-videographers Coral Morphologic.

Domino is extremely proud to present Henryk Górecki: Symphony No. 3 (Symphony of Sorrowful Songs) performed by Beth Gibbons and the Polish National Radio Symphony Orchestra, conducted by Krzysztof Penderecki. Both an audio and film recording of the performance will be available on 29th March 2019. Watch the trailer above.

The performance took place at The National Opera Grand Theatre in Warsaw on November 29th 2014, and was part of an evening of programming that also featured Jonny Greenwood's (Radiohead) 48 Responses To Polymorphia and the world premiere of Bryce Dessner's (The National) Réponse Lutosławski.

Following an invitation to collaborate at the concert, Beth Gibbons undertook an intense preparation process, including tackling the challenge of learning the original text (and the emotional weight it carries) without speaking the mother language. Typical to Beth though - the elusive yet iconic frontwoman of one of the most important British bands of the last two decades - the challenge was met and exceeded. Her performance alongside the maestro Penderecki has been hailed as triumphant, as you can see and hear on this release. The film, was produced by the National Audiovisual Institute, Poland and directed by Michał Merczyński.

Mandolin Orange release their latest album 'Tides Of A Teardrop' on the 1st February via Yep Roc Records. To mark the release, the band have shared the Josh Sliffe directed music video for 'Golden Embers'

Mandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy, and on Tides of A Teardrop it is more potent than ever. By all accounts, it is the duo’s fullest, richest, and most personal effort. You can hear the air between them—the taut space of shared understanding, as palpable as a magnetic field, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multi-instrumentalist Emily Frantz have honed this lamp glow intimacy for years.

Plastic Mermaids are a five-piece band from the Isle of Wight who's self-produced debut album ‘Suddenly Everyone Explodes’ is to be released on May 24th 2019 via Sunday Best Records. Watch the video for 'Floating In A Vaccuum' above.

Following on from their latest psychedelic pop single ‘1996’, which was warmly received by fans and critics alike (supported at radio by Radio 1’s Jack Saunders, BBC6 Music’s Lauren Laverne and Chris Hawkins), the band have now revealed a second track, ‘Floating in a Vacuum’, which is also taken from their much anticipated debut album. The video for ‘Floating In A Vacuum’ features spacemen on skateboards and aliens firing off streamers. Entirely conceptualised and produced by the band and remains true to their creative form.

In terms of musical influences, fans of The Flaming Lips, Arcade Fire, Sparklehorse and Tame Impala will all find something to love in Plastic Mermaids’ richly-textured sound. The Flaming Lips’ influence is also evident in their ecstatic live show, which has manifested itself in a sparkly-gold-cape-clad choir, who have recently accompanied Plastic Mermaids on tour, and Patricia; a mannequin covered in mirror ball tiles who is often suspended above their stage set.

These New Puritans share details of their fourth studio album Inside The Rose, set for release on 22nd March 2019. Brutal and beautiful, Inside The Rose arrives six years after the critically acclaimed album Field of Reeds and is arguably the Barnett brothers' most innovative work to date. Watch the Harley Weir directed music video for the title track below.

Recorded in Berlin, London and Southend-on-Sea, and mixed in Los Angeles, Inside The Rose is a record unlike anything else you’ll hear this year – 40 minutes of powerful melodies, lush strings and progressive electronics, packed with jaw-dropping sonic left turns. The title track of the record is available to stream and download from today, and follows the release of another album track ‘Into The Fire’, debuted late last year to immense acclaim. ‘Inside The Rose’ debuts alongside a short film that draws the viewer into the world of the album, directed by the award-winning photographer Harley Weir in collaboration with George Barnett.

Together they began to create their own musical world and in the years since they’ve successfully blurred the distinctions between pop, classical, electronic, rock and experimental music, earning rave reviews and praise from artists as diverse as Björk, Massive Attack and Elton John along the way.

2008’s debut Beat Pyramid, released when the brothers were still in their teens, was a circular work of fast rhythms, repetitive lyrics and fractured field recordings, stood out like a sore thumb amongst the conservative, guitar-based music of the period. The follow up, Hidden (2010) defied expectations and garnered numerous ‘album of the year’ accolades. After appearing on Björk’s Bastards remix album, the band released the cinematic Field of Reeds in 2013. Since then, Jack and George’s desire for new sonic challenges saw them produce the musical score for the first authorised theatrical production of Aldous Huxley’s Brave New World.

Now, reverting to the original duo of brothers Jack and George Barnett, These New Puritans open a new chapter with Inside The Rose. Writing sessions began in Essex in 2015 and were completed in Berlin after they relocated there; the majority of recording was done in a former Soviet broadcasting studio in the city’s industrial suburbs. Inside the Rose’s sharp romanticism grips like a vice, drawing you into a nocturnal alternate reality where nothing is as it seems. “The songs are about beauty, transcendence, desire, oblivion, ecstasy and eyes,” says Jack.

Rosie Lowe returns with her much-anticipated second album YU out on the 10th May via Wolf Tone. Produced by Dave Okumu (The Invisible, Grace Jones, Jessie Ware) and featuring The P Funk Choir of Jamie Woon, Jamie Lidell, Jordan Rakei and Kwabs. Watch the Jovan Todorovic directed music video above.

First single Bird Song marks a new dawn for Rosie Lowe. The track was inspired, says Rosie, by ideas of “lust and desire, but with the lingering sense of insecurity and longing.” YU is a record that asks bigger questions of how the heart and mind works, and ultimately finds power through opening up both. A songwriter, producer, multi-instrumentalist and DJ, Rosie Lowe’s work digs into a richly complex mix of musical and emotional experiences.

YU – says Rosie – “is about other. I wanted to write about my experience of sharing my life with another as a lover, friend and partner.” These are intensely songs of the mind, which makes sense after all when you consider the fact that Lowe is also training in psychotherapy. And it’s a process of analysis which allows YU the broader scope to interrogate life as a twenty something in London, as a woman empowered and in control. As much as it pushes into new sounds and stories, YU also sees Rosie Lowe look back on her life, and all those things that make YU. She grew up as one of six kids in rural Devon, having learnt the saxophone young (which she still plays and adores) and been exposed to a broad mix of soul, jazz, funk and R&B; influences which come to glorious fruition on her second album.

Released in collaboration with Paul Epworth’s Wolf Tone and reuniting Rosie with producer and co-writer Dave Okumu, the record also features a rare appearance from Jay Electronica, The P Funk Choir, and leading lights across the UK’s dance and jazz circles (Floating Points, Shabaka Hutchings, Alfa Mist).

Lisa O'Neill shares her latest album 'Heard A Long Gone Song' out 28th October 2019 via Rough Trade Records imprint River Lea. The album has already been shortlisted for the RTE Choice Music Prize, the prestigious prize celebrates the best of Irish recorded music. Watch the video for 'Rock The Machine' above.

Lisa O’Neill grew up in Ballyhaise, County Cavan and now lives in Dublin. Heard A Long Gone Song, her first album for Rough Trade imprint River Lea is a collection of traditional material interspersed with her own. The sense of ownership Lisa imbues in these old songs, coupled with the immutability of her chosen subjects makes it hard to tell which is which.

These are folk songs in the original sense of the word. The album begins with an entirely unaccompanied rendition of The Galway Shawl, first collected in 1936 but made famous by Alan Lomax’s 1956 recording of the great Margaret Barry. Lisa’s remarkable and unconstrained delivery of this popular Irish street ballad is like hearing it for the first time. It’s followed by the slow-building menace of Along The North Strand, a version of Lady Isabel And The Elf Knight collected from a Traveller singer named Kitty Cassidy.

Hand Habits has returned with their sophomore album, 'placeholder' out 1st March 2019 via Saddle Creek, watch the video for the title track above.

To make this album, Meg Duffy chose to work in a studio and bring in collaborators, entrusting them with what had previously been a very personal creative process. Over the course of 12 tracks, Meg emerges with new confidence as both a bandleader and singer.

As a lyricist, Meg is drawn to the in-between, and the songs on this new album primarily confront the ways in which certain experiences can serve as a stepping stone on the road to self-discovery. “A big aspect of my songwriting and the way I move through the world depends on my relationships with people. The songs on placeholder are about accountability and forgiveness,” Meg says. “These are all real stories. I don’t fictionalize much.”

Instrumentally, placeholder can be situated alongside some of Meg’s folk-adjacent contemporaries like Angel Olsen or Big Thief, and the guitar work on this album proves that Meg continues to be one of the finest young musicians working today. placeholder is another entry in the Hand Habits songbook, but it’s also a valuable testament of our time. While placeholder inspires a sense of ease, simple questions rarely beget easy answers and Meg honors the indescribable joy and profound sorrow that comes with figuring things out, one step at a time.

Jessica Pratt announces new album 'Quiet Signs' Out 8th February via Mexican Summer/City Slang Records. To mark the announcement, Jessica Pratt has shared the first single 'This Time around' accompanied by a Laura-Lynn Petrick directed music video. Watch above.

Her first album fully recorded in a professional studio setting, Quiet Signs finds Pratt’s songwriting and accompanying guitar work refined — more distinct and direct. Songs like “Fare Thee Well” and “Poly Blue” retain glimmers of OYOLA‘s hazy day afternoon spells, yet delicate flute, strings sustained by organ arrangements, and rehearsal room piano now gesture towards the lush chamber pop and longing of The Left Banke. On the album’s first single, “This Time Around,” Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso‘s casual seaside brilliance. And before the curtain drops on Quiet Signs, Pratt provides a show-stopping closer, “Aeroplane.”

The album was written in Los Angeles and recorded at Gary’s Electric in Brooklyn, NY over 2017 and 2018. It was co-produced by Al Carlson. He plays flute, organ and piano on some songs. Matt McDermott also played piano and string synthesizer.

Tim Presley's White Fence share the title track from the upcoming album "I Have to Feed Larry's Hawk" Out 25th January 2019 via Drag City records. Gliding past ghostly statues of mythic entities and through the mist into the present world, Tim Presley's White Fence shed their multicolored-shroud for a heartfelt yet enigmatic, cycle of songs about losing the thing that's killing you that you love in order to gain the thing that makes you love what you love, with loads of Heartbreakers and other new pop classix. Watch the music video for "I Have to Feed Larry's Hawk" above.

Having recently announced news of his new album The Route to the Harmonium – due for release on Feb 22nd 2019 via Domino - James Yorkston is shares a second track from the forthcoming record. Watch the Sam Wisternoff directed video above.

On ‘Shallow’, James sings: “There are years, there are still years, that could have been ours..."

This feeling of times gone by, times missed, times that are no longer possible, is echoed elsewhere on The Route to the Harmonium - friends and family, past and present, those that have remained and those who have left is the strongest thread running through the album. The Route to the Harmonium is James’ first solo album since 2014’s CRAWS, and is produced by himself alongside David Wrench. Whilst ‘Shallow’ is a poetic ballad, indicative in part of the classic Yorkston sound, the album also has three thrilling spoken-word pieces including the previously shared ‘My Mouth Ain’t No Bible’.

The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Childhood and youth, those summers in West Cork, ‘just family, just brothers’ – that sense of adventure hums throughout. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. This is Yorkston’s world and could be nowhere else in music.

Rustin Man aka Paul Webb is pleased to share a second track from his forthcoming album Drift Code – to be released on February 1st via Domino. Watch the Edwin Burdis directed video above.

On ‘Judgement Train’, which Webb describes as “the Marx Brothers in a musical version of Apocalypse Now,” he casts himself as a man playing poker with God on a train. “He is a bit of a cheat and a chancer, confident he can outwit God to win his place in Heaven. As it develops he realises it’s not going so well and God has cunningly switched places with the devil. By the end, the guy has been out-played and realises he actually has a lot in common with the devil. I like to think it has a happy ending!”

Webb, formerly the bass player in Talk Talk, has released one record under the moniker Rustin Man so far, the superb Out Of Season in 2002 - a collaboration with Beth Gibbons of Portishead. He has been working on the follow-up ever since, recording it in his home, a converted barn, in an Essex field three miles from the nearest village, an extraordinary building as much Old Curiosity Shop as modern living space. Creating that, and raising two daughters with his wife Sam, was happening alongside the making of Drift Code.

This is the first time Paul has written songs specifically for his own voice, and he turns out to be a gifted character actor, adopting various vocal roles across the songs, as heard on ‘Judgement Train’ and the previously shared ‘Vanishing Heart’.

Following the announcement of Serfs Up!, their third album and their first for new label Domino, Fat White Family have shared the video to Feet, a suitably grandiose work directed by C.C. Wade which perfectly matches the overwhelming scope and ambition of the track.

Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning. Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

Cherry Glazerr have shared the latest cut from their upcoming album 'Stuffed and Ready' Out 1st Of February via Secretly Canadian. Accompanying the new single is a gothic and hellish music video which can be watched above.

On 'Wasted Nun', Clementine Creevy (lead singer) explains “Wasted Nun” is about a woman trying to come to grips with her life. She’s a tragic woman. She hates herself and is trying to move through the world but gets deflated by extreme self-loathing. She wants to harness the power of the universe but instead she turns to self-destruction. The song is aggressive and intense because I’m letting out my anger, I’m enraged. People want girls to be strong, I want to be strong, but I just feel angry, and those are two very different things. There’s a stubbornness there, I know.'

Director Jessica Collins describes the video: “Music, blood, blades, babes. Sometimes anger looks like a weird beautiful demon nun that wants to rip right through you! You’re not sure how she’ll do it, but you know you want her to! The soft and sharp of brutality makes you want to bite down on something and rip it off! RIP IT UP! DO SOMETHING!”

Stuffed & Ready follows Cherry Glazerr’s Secretly Canadian debut Apocalipstick, an album that sizzled with Creevy’s confidence, vision and fiercely idiosyncratic personality. When Creevy began writing Stuffed & Ready, she found unexpected inspiration by turning inward. Her unblinking honesty attempts to reconcile confusion and anger in the current political climate.

Serfs Up! is Fat White Family’s third album and their first for new label Domino. Released on Friday 19th April 2019 it marks the most gratifying and unexpected creative volte face in recent musical history. The band have today shared the first track to be taken from the album, Feet, a triumphant return which perfectly heralds the overwhelming musical scope and ambition of the album. Listen to Feet HERE.

Having released their second album, Songs For Our Mothers in January 2016, core-members Lias and Nathan Saoudi relocated to Sheffield and set about writing the album. Joined by co-conspirator Saul Adamczewski and recorded at their own Champzone studios in the Attercliffe area of the city, Serfs Up! was finished in late autumn 2018 with the help of long-time collaborator, Liam D. May and features a guest appearance from Baxter Dury on Tastes Good With The Money.

Serfs Up! is a lush and masterful work, lascivious and personal. Tropical, sympathetic and monumental. It invites the listener in rather than repel them through wilful abrasion. Fat White Family have broken previous default patterns of behaviour, and as such their third album heralds a new day dawning.

Gregorian chants, jackboot glam beats, string flourishes, sophisticated and lush cocktail exotica, electro funk and the twin spirits of Alan Vega and Afrika Bambaataa punctuate the record at various junctures, while the dramatic production of Feet is as immaculately-rendered as ‘Hounds of Love’-era Kate Bush. The dirt is still there of course, but scrape it away and you’ll find a purring engine, gleaming chrome.

Where once they soundtracked a grubby Britain of vape shops, Fray Bentos dinners and blackened tin-foil, a crepuscular comedown realm stalked by Shipman, Goebbels and Mark E. Smith, Fat White Family now inhabit another cosmos entirely. Serfs Up! is the product of a band of outlaws reborn. Few but themselves could have forecast it: Fat White Family survived. Fat White Family got wise. Fat White Family got sophisticated.

Priests return with the announcement of a new album titled 'The Seduction of Kansas' with a video for the title single, watch above.

The Seduction of Kansas features contributions from multi-instrumentalist and co-writer Janel Leppin, along with Priests’ core line-up of singer Katie Alice Greer, drummer Daniele Daniele and guitarist G.L. Jaguar. Priests recorded The Seduction of Kansas in Dallas with producer John Congleton, who’s worked with indie-rock artists like St. Vincent and Sharon Van Etten.

Los Angeles-based artist SASAMI has announces her self-titled debut album with the release of a video for its lead single, ‘Jealousy’. Watch above.

On the video, SASAMI says, “The whole ‘Jealousy’ video was born out of inspiration from the scene “Bruce Vs Chocolate Cake” from the 1996 film adaptation of Roald Dahl’s ‘Matilda’. I wanted it to be kind of like a filmed version of a weird play. I am a witch creature and my sidekick, Gobby, and I dance in our painted backdrop lair and plot mischief. Luckily our havoc bears liberating ends as the bewitched are released of their socially-expected, self-imposed obsessions and rituals. I wanted to make something grotesque and creepy and funny, of course.”

Songwriter and multi-instrumentalist Sasami Ashworth, aka SASAMI, wrote the album's ten tautly melodic rock tracks over the course of a year on tour, playing keys and guitar with Cherry Glazerr.Originating as a string of demos she recorded straight to her iPad whilst on tour with Cherry Glazerr, the songs poured out of Ashworth in stream-of-consciousness fashion, tracking the thrills, disappointments, and non-starters of a year spent newly single and on the road. In many ways, though, they were the culmination of decades of hard work.

Just like her notoriously irreverent stage banter, Ashworth notes that her relationship to music, and to playing instruments, "comes from a place of love and playfulness and joy" - and it's something you can hear at every moment of SASAMI. But if SASAMI tells a story, it's one about the surprising ways that one's relationships - with lovers, with friends, with oneself - can shift in a single year.

Steve Mason shared the video to Walking Away From Love, the latest track to be taken from his forthcoming new album, About The Light, which is out on Double Six on Friday 18th January 2019. The video was directed by Edwin Burdis and shot on location in The Gambia.

About The Light is his fourth solo album following Boys Outside (2010), Monkey Minds In The Devil’s Time (2013) and Meet The Humans (2016). Having written most of his previous albums alone, About The Light marks a change in approach for Steve. “I decided with this album that I wanted to get my live band involved at every stage because I wanted to capture the energy that we produce when we play live shows, so this time the band and myself worked on a collection of songs over the course of last year,” he explains.

Picking Stephen Street to produce the album, and with a very clear plan in mind, from the off the goal was to capture the songs live and draw out their soulful elements. Recorded at studios in London and Brighton, About The Light, sees a subtle yet noticeable evolution in Steve’s sound.

“When I listen to this album it feels and sounds like the first ‘legitimate’ record that I have ever made. It’s hard to explain but it sounds like a ‘real’ album. I think that is partly the production, the playing and the work that I did with the band for all those months in our rehearsal room on the South Coast,” says Steve. “It’s a beautiful, confident, positive, angry, loving and gentle album which once again moves what I do forward,” he adds. “David Bowie said that you should always be slightly out of your comfort zone if you want to achieve greatness, and for the first time perhaps ever, I deliberately pushed myself into that place. Who doesn’t want greatness?”

Los Angeles-based artist SASAMI has released a video for ‘Not The Time’. Gorilla vs Bear premiered the video today, calling it a "vibrant and charming video for her sweetly buzzing new single". Co-directed by Kate Hollowell and Sasami Ashworth, the video features the LA Municipal Dance Squad and The Linda Lindas as SASAMI’s backing band. Last month, The FADER called ‘Not The Time’ a “fully-formed, heart-striking gem”, hailing SASAMI as “rock's next big thing”.

SASAMI (Sasami Ashworth) has been making music in the Los Angeles area, in almost every way you can, for the last decade. From playing French horn in orchestras and studios and playing keys, bass, and guitar in local rock bands (Cherry Glazerr, Dirt Dress), to contributing vocals/string/horn arrangements to studio albums (Curtis Harding, Wild Nothing, Hand Habits) and producing on tracks for other respected artists (Soko), she has gained a reputation as an all-around musical badass.

After graduating from the Eastman School of Music in 2012, SASAMI spent her time scoring and making orchestral arrangements for films, commercials and studio albums, as well as being a deeply committed music teacher in Los Angeles. She spent the previous two and a half years touring the world non-stop playing synths in the band Cherry Glazerr and is now taking a turn to focus on her own music. SASAMI has already shared bills with the likes of Mitski, Japanese Breakfast, Liz Phair, The Breeders and Blondie.

Dan Deacon’s second revelatory release for the Domino Soundtracks imprint, Time Trial, transmits new spectrums of sound from a universe parallel to, yet distinct from, his electronic-pop output. Zooming in on the inner life of the solitary on-screen struggle captured in director Finlay Pretsell’s visceral documentary of the same name, Deacon’s score amplifies dreams of redemption and fleeting bursts of elation that grind against punishing environs, ghosts of the past, and the physical limits of the human body. Recently nominated for the "Outstanding Achievement in ​Original Music Score” at the 2018 Cinema Eye Honors, Time Trial is not only one of the year’s essential soundtrack releases, but a major work of modern electronic composition.

The album is as fully formed and flawlessly sequenced as any of Deacon’s albums, yet never bound to his pop persona—even if its exultant moments, like closing track “Finlay’s Anthem,” are unmistakably the work of the mastermind behind America and Gliss Riffer. From the swelling, cacophonous build of “The Melee” and steady adrenal pulse of “The Breakaway” to the creeping dread of “Worse Times” and deep chill of “Charlie I Can’t Feel My Hands,” Time Trial is a challenging, resonant, and deeply rewarding record that discovers hard-worn truth and beauty in broken dreams and collapse.

A few months after “Ring” Michelle Blades changes gears with “Kiss Me On The Mouth”, an unpredictable, intense and graceful single that came to being during several soundchecks on tour. The Mexican-Panamanian artist presents a bitter-sweet track that presents a character trying to persuade themselves of an innocence long lost while analyzing the vices of those around them. Filmed in Mexico City, the music video was directed by the collective Fuerza Basicas and feature Michelle Blades dressed in multiple outfits, picturing the redundancy of the day-to-day experienced with different disguises. Watch above.

A self-taught artist, a multi-instrumentist, Michelle Blades reveals a discography infused with multiple sounds as an extension of her nomadic life spent between Panama, where she was born; Mexico, land of her mother’s family; Florida where she escaped from Manuel Noriega’s dictatorship, Arizona, where the young woman met underground and alternative culture and France for a music career spanning over ten years. Between 2015 and 2016, Michelle Blades has released with Midnight Special Records the LP Ataraxia and two Eps: Nah See Ya and Polylust. In the past years, she toured in several countries with French artist Fishbach as a bassist where she still found the time to record a new EP: Premature Love Songs, released in 2017.

“Kiss Me On The Mouth” gives yet another taste of Visitor, Michelle Blades’ new album, out on March, 29th on Midnight Special Records.

Julia Holter released her fifth acclaimed album last month, the dazzling Aviary. An epic journey through whatHolter describes as “the cacophony of the mind in a melting world”; it is full of startling turns and dazzling instrumental arrangements whilst still clinging to a sense of radical hope, even in its most sombre moments. Julia is pleased to share the video for ‘Whether’.

“When Julia asked me to make a video for Whether, she said that I should “have fun with it”. I decided to indulge in my love of hand-worked darkroom techniques. Exposing 16mm film prepared with cyanotype solution to the light of the sun on my balcony every afternoon over a couple of weeks, making the work in small pieces, meant that as the fires in Southern California darkened the sky with smoke, my exposures took increasingly long amounts of time to get images ever more faint. Julia wanted me to share this anecdote, since it fits the dystopian theme of the song, which is about the world collapsing around us because of climate change.”

“Aviary is Holter’s best album to date. Accomplished in almost every way, what happens next could be breathtaking” Record Collector 4* New Album of the Month.

Steve Mason has today shared Walking Away From Love, the latest track to be taken from his forthcoming new album, About The Light, which is out on Double Six on Friday 18th January 2019. Listen above.

About The Light is his fourth solo album following Boys Outside (2010), Monkey Minds In The Devil’s Time (2013) and Meet The Humans (2016). Having written most of his previous albums alone, About The Light marks a change in approach for Steve. “I decided with this album that I wanted to get my live band involved at every stage because I wanted to capture the energy that we produce when we play live shows, so this time the band and myself worked on a collection of songs over the course of last year,” he explains.

Picking Stephen Street to produce the album, and with a very clear plan in mind, from the off the goal was to capture the songs live and draw out their soulful elements. Recorded at studios in London and Brighton, About The Light, sees a subtle yet noticeable evolution in Steve’s sound. “When I listen to this album it feels and sounds like the first ‘legitimate’ record that I have ever made. It’s hard to explain but it sounds like a ‘real’ album. I think that is partly the production, the playing and the work that I did with the band for all those months in our rehearsal room on the South Coast,” says Steve “It’s a beautiful, confident, positive, angry, loving and gentle album which once again moves what I do forward,”.

James Yorkston will release his new album The Route to the Harmonium on Feb 22nd 2019; produced by Yorkston and David Wrench, it is James’ first solo record since 2014’s Cellardyke Recording and Wassailing Society (CRAWS) and follows the two collaborative albums he made as one third of Yorkston/Thorne/Khan as well as the release of his debut novel Three Craws in 2016.

Alongside the announcement, James has shared new song ‘My Mouth Ain’t No Bible’ - one of three thrilling spoken-word pieces on the record. It thrums insistently, military snares punching away, Yorkston’s delivery interplaying as two competing voices, one of himself, the other a lost musician friend, “a spare hand, a hired hand, a deck hand” who was unable to prevent self-destruction.

The album was almost entirely recorded by James himself, in the small Scottish fishing village of Cellardyke, where he lives. Yorkston’s studio is a ramshackle old loft space, originally used to repair fisherman’s nets, and now stuffed full the antique instruments James has collected throughout his life as a musician. Having created hours of recordings, James called up his old collaborator David Wrench - the mixer and producer who has worked with the likes of Caribou, Four Tet, Frank Ocean, FKA Twigs and David Byrne - and someone who has worked on James’ albums since 2003 – to help make sense of the sessions.

The Route to the Harmonium (or, ‘the search for peace’) is intensely personal; it’s the sound of home, of undisturbed craftmanship. Listen closely and you can imagine him putting it together. Overlaying vocal and guitar tracks, adding further with Dulcitones, harmoniums and autoharps, with nyckelharpa, the distinctive Swedish stringed instrument given to him by a friend. And friends and family, past and present swim all over his songs. Remembering them, and those you’ve shared life with, those who leave and those who remain, is the strongest thread running through these affecting, extraordinary songs. This is Yorkston’s world and could be nowhere else in music.

Rustin Man aka Paul Webb has announced his return. Webb, formerly the bass player in Talk Talk, will release his new album Drift Code on February 1st 2019 via Domino. Additionally, Rustin Man has shared the opening song, ‘Vanishing Heart’, watch above.

Webb has released one record under the moniker Rustin Man so far, the superb Out Of Season in 2002 - a collaboration with Beth Gibbons of Portishead.The long-awaited album has a warm, wise kind of euphoria to it, coupled with an acute sense of storytelling and surreality. Webb, who for the first time has written songs specifically for his own voice, turns out to be a gifted character actor, adopting various vocal roles across the songs. In ‘Vanishing Heart’, he is someone liberated from a loveless relationship: “At last I’ve found more warmth to feeling / It feels so good to be alive”.

As you might expect from someone of Webb’s pedigree, Drift Code is a deep, detailed work. The passage of time, the living space full of art, treasured objects and junk, the years spent listening to film music and ‘40s standards are all audible. But there’s a surprising spontaneity to it too. Though he did much of it alone, Webb’s recording technique made the music feel as if it has been recorded by a group of musicians playing in the same room. Raw demos written on a Dictaphone provided the basis for tracks begun with drums played by Webb’s former Talk Talk and O’rang colleague Lee Harris.

“I called the album Drift Code as it’s an oxymoron, a code is something fixed, but our instinct is to wander, to drift. I like the idea that life is a puzzle that can’t be solved because the answer is always changing.”

Its’ been two years since the Isle of Wight’s Plastic Mermaids have released a new record and now the five-piece band are back with a new psychedelia-infused, indie-pop single ‘1996’ with an amusingly genius & heart-warming video to accompany the release, which was entirely conceptualised, directed and produced by the band. Watch above.

Plastic Mermaids are a five-piece band featuring brothers Jamie and Douglas Richards, who collaborate on vocals, synths and samples, along with guitarist Chris Newnham, bassist Tom Farren and drummer Chris Jones.

“Making the video was kind of fun but more often hilariously awkward, all of the shots where we were out in public were pretty hard work and we got a LOAD of dodgy looks. Also the robot was pretty uncomfortable to wear, and SUPER warm. There’s probably a bit of deeper meaning maybe to do with how we live in modern life but i’d like to remain kind of vague on that and let people make up their own minds. “

Plastic Mermaids released debut EP ‘Dromtorp’ in March 2014 to widespread critical acclaim, following up with the ‘Inhale The Universe’ EP in March 2015 and third EP ‘Everything Is Yellow and Yellow Is My Least Favourite Colour’ in June 2016.

These New Puritans, the great heretics of British music, return with Into The Fire, their first new studio recording since 2013’s critically acclaimed album Field of Reeds. Into The Fire, featuring Current 93’s David Tibet, is available via Infectious Music. The Into The Fire artwork is a collaboration between George Barnett and the award winning photographer and director Harley Weir. Listen above.

It’s been a decade of sonic innovation since the band released their debut album Beat Pyramid. In the years since, they’ve successfully blurred the distinctions between rock, classical, electronic, pop and experimental music, earning rave reviews and praise from artists as diverse as Björk, Massive Attack and Elton John along the way.

Now, reverting to the original duo of brothers Jack and George Barnett, These New Puritans open a new chapter with the industrial electronics of Into The Fire. Writing sessions began in Essex in 2015 and were completed in Berlin after Jack relocated there; the majority of recording was done in a former Soviet broadcasting studio in the city’s industrial suburbs.

“The new music is much more primitive,” explains Jack. “We want to make our music as direct and as powerful as possible - straight to the nervous system.” “We wanted this to be about us working together on something really pure and progressive,” adds George. “The melodies and Jack’s voice are much more important this time around.”

2008’s debut Beat Pyramid, a circular work of fast rhythms, repetitive lyrics and fractured field recordings, stood out like a sore thumb amongst the conservative, guitar-based music of the period. The follow up, Hidden (2010) defied expectations, combining brutal Japanese Taiko drums, dancehall rhythms and austere woodwind (Jack taught himself musical notation to score the album's orchestral arrangements). After appearing on Björk’s Bastards remix album, TNP then released the cinematic Field of Reeds in 2013, followed by EXPANDED: Live at the Barbican (2014). Since then, Jack and George’s desire for new sonic challenges saw them produce the musical score for the first authorised theatrical production of Aldous Huxley’s Brave New World.

Noah Lennox's sixth solo album as Panda Bear is Buoys, due out February 8th, 2019 on Domino. The first song to be released from Buoys is “Dolphin”: Lennox’s bright, sincere voice front and center, with miles of space surrounding it, a guitar and some textured samples fleshing out the dubby sparseness and undercurrent of speaker-limit-pushing sub-bass low-end. Watch above.

Buoys was co-produced and co-mixed by collaborator Rusty Santos in Lennox’s adopted home of Lisbon, Portugal. Lennox and Santos last collaborated on the landmark Panda Bear album Person Pitch, which had its 10-year anniversary last year.

Animated by their ongoing interest in contemporary music production techniques, Lennox and Santos envisioned something that would “feel familiar to a young person’s ears.” However, Buoys retains a deep layer of experimentation coursing through the hyper-modern production – a hallmark of Panda Bear releases that will feel intimately familiar to fans of Lennox’s decade-plus body of work.

Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout the album including “Dolphin,” and both lend their vocals to “Inner Monologue."

Buoys is the first Panda Bear release since 2018's vinyl-only EP A Day With the Homies, and the follow-up to 2015's kaleidoscopic full-length Panda Bear Meets the Grim Reaper. "The last three records felt like a chapter to me, and this feels like the beginning of something new," says Lennox whilst surveying how Buoys relates to the estimable Panda Bear catalogue. Indeed, the forthcoming Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists.

Following the release of new EP from Seamus Fogarty, The Old Suit, featuring two new original tracks and remixes by Django Django and James Yorkston. Seamus is pleased to share the video for the title track. Watch above.

“The tongue in cheek idea behind the clip is for it to represent 'The Last Music Video Ever Made'. This is to reflect the mournful elements of the song, a kind of 'waving goodbye to the format'. The more psychedelic elements of the track are represented by Seamus as a floating space creature, distorting and warping as he looks down on the earth-bound video as it slowly zooms away.

I used a variety of techniques including re-filming parts of the video by pointing a lens-less camera at the monitor screen and exposing Seamus to dangerously high level 'warping rays'. In space.”

Today, Flasher share their new video for Constant Imagestand-out single ‘Material’. This strange and hilarious video, directed by Nick Roney, breaks the fourth wall in an utterly unique and post-modern way. It can confidently be said that a video similar to this does not exist. Rather than spoil it with tedious description, please view it for yourself. Watch above.

Following the release of her recent track “Mellow” featuring Shygirl comes “Started Out”, the brand new single from Georgia, her second single of 2018. Watch the Rosie Marks directed video above.

“Started Out” is an upbeat and euphoric track infused with hedonism and influences from the Chicago house scene of the 80s. Using the same original 909 drum machines & sequential analogue synths used by dance legends of the 80s & 90s, “Started Out” is another shining example of Georgia’s flair in the studio; melting her thrilling pop lyricism, with her rich wealth of experience in the studio.

The video, featuring Georgia, was shot and directed by Rosie Marks, who was recently included in the 2018 Dazed 100 list. Georgia says about the track:

“Started Out is about that exciting sensation that comes from the beginning of something, maybe meeting someone for the first time and getting a sensation/thrill out of it all. It’s hard to maintain though, and you don’t want to lose it. But we can be bold, take risks, be young fools, and not be able to understand what it all means but know that someone will love us for it.”

Ahead of the release of Bill Ryder-Jones' new album Yawn, he unveils the third song from the record, ‘Don’t Be Scared, I Love You’. Watch the video above.

Bill adds: “Love this video although I decided to never wear sunglasses again after watching it”. A buckle-up and knuckle-down listen, Yawn rewards the listeners’ attention with motifs and melodies that play hide and seek but never fail to deliver on those between-the-lines verities. This musical belief of delayed gratification is something Bill learnt from classical music as a child, from Elgar and Debussy in particular – and over the long hall of his short life, you can hear these riches being polished on Yawn. Most of the 10 songs clock-in over the 5 minute mark and this wide-angle lens affords us time to interpret and translate meaning – or just to revel in it.

“Yawn is a sublime show of songwriting strength, Ryder-Jones’s gifts, world-weary as they are, showing no signs of running down or out”Mojo 4* “It’s a stunningly assured, deeply romantic and already one of this year’s best”Q 4*

Following on from the release of their critically acclaimed new album, Microshiftat the beginning of 2018, Hookworms have today announced the Microshift Remixes EP. Featuring remixes from Nik Colk Void (Factory Floor), Luke Abbott, Free Love (f.k.a. Happy Meals) and XAM (Hookworms very own MB) the EP is set for release on November 23rd, with the arpeggiated work out, ‘Ullswater (Luke Abbott remix)’ available to listen to now above.

Alison Crutchfield reunites with band 'Swearin' for their first album in five years named 'Fall into the sun'. The album’s lead single “Grow Into A Ghost” is the first new music since 2013’s Surfing Strange. Listen to “Grow Into A Ghost” below.

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